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Metropolitan Opera House 

DECEMBER 19. 1913 

SOUVENIR 

OF THE 

PAVLOWA CARNIVAL 

FOR THE BENEFIT OF THE 

MUSIC SCHOOL SETTLEMENT 




Illustrated by M. A. Stocking 



Copyright 1913. by Beulah Lioingstone 



The Theatre Magazine Co.. Publishers. New York 



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'"But then there was a star danced, and 
under that was I born." — Beatrice, "IMuch 
Ado About Nothing." 

IT is said that a small boy with 
a precocious sense of humor was 
once asked in an examination, 
"What is the chief product of Rus- 
sia?" whereupon he chewed his 
pencil tip for a moment or two and 
then scribbled down the answ^er, 
"Dancers." And, indeed, it would 
seem to be true that Russia is the 
''Land of the Dance." Ever since 
the first ballerina waved farewell to 
her native St- Petersburg to be wel- 
comed on American shores, the 
words "premiere danseuse" in large 
letters or flickering lights have been 
used so often and so indiscriminately 
that they have come to have about 
as little real significance as an oft- 
heralded actor's "farewell appear- 
ance." There is in reality but one 
premiere danseuse, just as there is 
but one Bernhardt, and her imita- 
tors have succeeded only in empha- 
sizing her artistic superiority — the 
"Genius of a Generation," some one 
has called her, and deservedly so, for 
her dancing is a history of all the 
arts written on tip-toe, a symphony 
or very quintessence, as it were, of 
drama, poetry, music, rhythm and 
color. 

Born in St. Petersburg of Rus- 
sian parentage, Mile. Anna Pavlowa 
received her first dancing lessons at 
the age of ten. As a very unusual 
Christmas treat, her mother once 
took her to see a fairy play, entitled 
"The Sleeping Beauty." It was the 
first time that little Anna had ever 
been inside a playhouse, and, inspired 
1)y the lieautiful v])allet, then and 
there, she determined to become a 







JAN -5 1914 



dancer. But, being only eight years 
old, she h^d to wait two years more 
before gaining admission to the Im- 
periarl IMariensky Institute of the 
Ballet, a school maintained by the 
Czar, where children who are par- 
ticularly gifted are trained in the 
dance at Government expense. Here, 
after six years of relentless work, 
hard study, and daily practice, Pav- 
lowa was graduated, and in four 
years more she became first a solo 
dancer in the Imperial Russian Bal- 
let, and then a ''prima ballerina." 
Since that day her popularity on 
both sides of the water has steadily 
increased, and her life has been one 
long succession of triumphs. She 
has earned the august plaudits of 
press and public — critics, crowned 
heads, and cognoscenti- 

The art of Pavlowa governs her 
whole life. ''Yes," she says, ''it is all 
satisfying, it fills my every aspira- 
tion and remains an unending joy. 
But it is built upon a stratum of. 
sacrifices. I must keep always in 
arduous training, and no celebrated 
football player or prizefighter ever 
underwent more privations or more 
systematic study along the regular 
and disciplinary lines than I do- I 
believe I am the only star, or 'head 
liner,' as you say in America, who 
has never taken a vacation. Each 
day finds me practicing between two 
and three hours in a room walled 
with mirrors. And I must be con- 
stantly thinking and studying, too, 
that I may always have a message 
for the body to obey, for dancing 
as I try to dance is just as much 
intellectual and spiritual as it is a 
matter of physical grace. So you 
see I subscribe ^quite cheerfully to 
the belief that genius is an infinite 
capacity for taking pains." 

When Pavlowa talks her face is 



a mingling expression of joy, pas- 
sion and sorrow. It is as if she were 
typifying every phase of every Rus- 
sian temperament, just as when she 
dances "L'Automne Bacchanale," it 
is not Pavlowa and Novikoff alone 
who are dancing, but the youth of 
all the world expressing the embodi- 
ment of idyllic joy because of the 
fullness of the vintage season. Her 
eyes are large and dark, with a 
dreary, rather sad expression one 
moment, and an alert, impish twinkle 
of mischief the next. The magnet- 
ism of her voice and smile are as 
subtly eloquent as her limbs. She is 
all Russian and she is all woman. 
Her slight figure, with its sensuous 





suppleness, combined with her un- 
usual grace and animation, make her 
altogether alluring and altogether 
feminine. 

It is not strange that a woman of 
such charm should have a busy social 
life. The drawing-rooms of the 
world are open to her, and her Eng- 
lish home, Ivy House, at Hampstead 
Heath, just outside of London, is 
the scene of many celebrated lawn 
parties and fetes, where dowager 
duchesses, prominent statesmen and 
celebrated persons of highest rank 
are wont to attend. 

But aside from social activities, 
Mile. Pavlowa also finds time to 
keep up with all the world's move- 
ments in music, literature and art 
Books she has always about her, and 
her library contains perhaps the 
greatest collection of rare bibliothia 
pertaining to the dance in the whole 
world. Her reading is serious and 
deep and she peruses French with 
quite as much ease as her native 
tongue. Of late she has l)ecn learn- 



ing English, too, and is making rapid 
progress. She has travelled widely, 
of course, and, strange as it may 
seem, prefers England to Russia. A 
striking characteristic is her passion- 
ate love of animals, and her hatred 
at the thought of any wild creature 
being caged. At Ivy House a young 
gazelle frolics at will about the 
lawms, swans swim around in a little 
pond lined with water lilies, and 
three parrots perch in their favorite 
trees. There is a whole aviary of 
pigeons, too, and dogs of every 
known variety may be seen romping 
up and down. Although she is ex- 
tremely fond of music, the harp be- 
ing her favorite instrument, yet, "if 
I were not a dancer," she says, 'T 
would prefer to be a poet" — as 
if anyone who ever saw her dance 
could dififerentiate the two ! 

Beulah Livingstone. 




A Biriaf Syim©p§i§ ©iF ft]bi(e Dascriplti^a Daim€(e§ 



THIS thrilling little drama, set 
to music by Armsseimer and 
arranged for the ballet by 
Marius Petipa, is a ' story of love 
jealousy, coquetry and adventure. 
The curtain rises upon a group of 
peasants who have assembled to re- 
ceive the village Burgomaster's in- 
structions as to their day's task. 
Marie, his daughter, mingles in the 
throng in order to tell Pierre, whom 
she loves, that he may return tO' her 
after all the villagers have departed, 
and as a mark of favor she gives him 
a little blue ribbon. But Therese, 
another pretty village maiden, is 
also enamoured of Pierre, and she 
appoints the same trysting place. 



first giving the peasant a red ribbon. 
When the men have all scattered to 
the fields and the women have gone 
to their homes, Pierre returns with 
both ribbons. Therese is the first to 
appear, and seeing her lover ar- 
dently pressing the bit of red rib- 
bon to his lips she believes herself 
beloved, and permits him to kiss her. 
Just then Marie appears and a quar- 
rel ensues- But in the midst of bit- 
ter reproaches comes the blast of a 
trumpet, announcing the advance 
of a body of Hussars. The Colonel 
of the little troop is furious that the 
village has not turned out to meet 
him. Pierre, however, busied with 
his own troubles, refuses to bring 




wine for the soldiers, and is cast 
into a barn for his obstinacy. 
Therese quietly disappears, but 
]\Iarie returns to seek Pierre and 
soon liberates him. A young Lieu- 
tenant, attracted by her prettiness, 
wishes her to dance, and to distract 
his attention from Pierre she accepts. 
Pretty soon the Captain changes 
places with the Lieutenant, and then 
comes the elderly Colonel to change 
places with the Captain, for he, too, 
is an easy prey to Marie's coquetry. 
He soon perceives, though, that the 
compliments of the peasants and the 
soldiers on his dancing are really 
nothing but ridicule, and he laugh- 
ingly acknowledges his folly by giv- 
ing orders for a village fete, in which 
the soldiers are permitted to join. 
By this time the Burgomaster has 
arrived to make a complaint, but the 
good-natured Colonel orders a col- 
lection taken up among the soldiers 
as a dowry for Marie and Pierre, 
and their betrothal is then celebrated 
amidst great rejoicing all around. 



The scene of this ballet dance of 
barbaric splendor is the Banquet 
Hall of a beautiful Enchantress. A 
young Knight of the Crescent, re- 
turning from the wars, is lost in the 
deep forest and finally happens upon 
the palace. The Oriental Enchant- 
ress, seeing in the war hero one 
more victim to her charms, bids him 
be made w^elcome from his wander- 
ings. Whilst the slave girls dance 
for his entertainment, she permits 
the Knight to sit at her right and 
partake of a rich repast, the while 
she pours words of endearment into 
his ear, seeking with passionate 
seductiveness to get him into her 
power. But the Knight has a true 
love who awaits him in Bagdad and 



remains quite unmoved. Then, her 
vanity sorely piqued, the Enchantress 
begins to dance for him, w^ith her 
slave girls in the background. The mu- 
sic grows wilder and wdlder, and the 
dance grows wilder still. The young 
Knight's blood begins to throb in 
tune to the mad rhythm of the dance, 
and he is about to fold the Enchant- 
ress in his arms when he suddenly 
recalls his true love and hears her 
intoning the exorcisms inscribed 
upon his sash, and though the sor- 
ceress, in her fury at defeat, tries 
to tear the sacred talisman away 
from him, he forcibly eludes her and 
escapes into the night. 




The music is by Seroff, Mousorg- 
ski, and Rimski-Korsakoff. The 
scenery and costumes are designed 
by- the famous Russian artist, Leon 



Bakst, one of the prophets and fore 
runners of Futurism. In fact, the 
entire ballet is futuristic in scenery, 
costume and conception. 




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«4)iiifiiaai^fS5ia^f)i^^a^!iis^ 



Fsiwll®wa Ev©irj Art Ss THniim© 

Pavlcwa, every art is thine; 

Thou art not of the Dance alone, 
Thou art a symphony divine, 

A lyric song without a line, 
Embracing all things known. 

Oh, lead us then in merry chase 
Across the unforgotten streams, 

That end in the enchanted place 
Where all is laughter, love and grace, 
Dancer of Dreams ! 

Mabel L. Frank. 



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'gm^^mmM^m^:M^'m':MW: 



TSua Mimiic Scln©©! SeMemmsimft 



A Ern©iF Hkitoiry 
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WHENEVER in the history 
"of any worth-while achieve- 
ment a trail has been 
blazed and a permanent path been 
made, it is always interesting to 
trace the origin of how those who 
chopped out the clearing happened 
to set to work. In looking back- 
ward nineteen years to the earliest 
beginning of the Music School Set- 
tlement, we find a young college girl, 
]\Iiss Emilie Wagner, teaching music 
to half a dozen little children of the 
poor in the rear room of a Bowery 
Mission, thus attempting to earn her 
living in a novel kind of social service 
for which she saw the need. Before 
many seasons had passed, interest in 
her experiment increased so rapidly 
that a little committee, who saw in 
such work more than just a means 
of attracting children to a social 
centre, began to form and organize 



for the purpose of assisting Miss 
Wagner. At the end of seven years 
a Music School of the University 
and College Settlements was estab- 
lished, a little house on Rivington 
Street having been rented for this 
purpose. The classes were supported 
by small fees from the children and 
by private subscription of individuals 
in sympathy with the movement. 
From this time on so rapid was the 
growth and influence of the school 
that it finally became an independent 
association under the new name of 
Music School Settlement, and a few 
years later moved into more spacious 
quarters at 55 East Third Street. 
Meanwhile, Miss Wagner having 
resigned, Mr. David Mannes as- 
sumed the position of Musical Direc- 
tor. 

To-day, instead of the tiny back 
room of nineteen years ago, with its 



six pupils, stands a fully equipped 
Music School Settlement, the parent 
of many similar Music School Set- 
tlements in other large cities, with 
over a hundred teachers and social 
workers ; a thousand pupils — repre- 
senting twenty different nationali- 
ties — and a waiting list almost as 
long, which demonstrates clearly 
how eagerly a musical education is 
desired and how intelligently it is 
appreciated by wage-earners and 
their children. About forty thou- 
sand lessons are given during the 
season; there are four orchestras, 
several sight-singing classes, a 
chorus of eighty, theory classes, 
artists' and students' recitals, lec- 
tures, over a hundred and fifty musi- 
cal engagements of pupils booked 
and arranged during the season, 
thousands of tickets to the best con- 
certs and recitals distributed, a 
large and valuable circulating li- 
brary of books and music. All these, 
plus hundreds of visits to the homes 
of applicants and pupils, dances and 
social gatherings of children and 
adults, several hundred children 
provided yearly with country holi- 
days, and thousands of children 
welcomed to home and playground 
during summer months- But, not- 
withstanding the fact that the build- 
ing is now free of all debt, of course 
the increase in running expenses 
keeps pace with the growth of new 
activities and enlarged facilities of 
the school, and to meet this need the 
Directors of the Settlement arrange 
an annual benefit. The fee for in- 
dividual half-hour lessons is twenty- 
five cents ; chorus and theory class, 
ten cents, and sight-singing class, 
five cents. A limited number of 
scholarships are provided for pupils 
who cannot afford to pay even these 
nominal sums. The concerts or other 



performances and the lectures are 
free to all members of the school. 

Children who are accepted as 
pupils of the Music School Settle- 
ment are not encouraged to become 
professional musicians. Music merely 
as technical proficiency, as a means 
to support, or as an entertainment, 
can have but a fleeting and unim- 
portant effect, either on the individ- 
ual or the community,, but music as 
the means of the right use of one's 
imagination and creative faculties 
and emotions, as the medium through/ 
which the inner life may express' 
itself, is just as much an imperative 
need of every child as food or cloth- 
ing. 

"Music," says Mr. Mannes, "as we 
understand the word at the Settle- 
ment, is not only an entertainment ; 
it might almost be called a religion. 
It is not merely violin-playing, 
not merely piano-playing, not mere- 
ly singing, but something much more 
than any or all of these. As recrea- 
tions and playgrounds are material 
incentives to better physical growth, 
so music culture is the playground 
of the imagination. Everyone can 
and everyone ought to play upon an 
instrument, not for others, but for 
himself ; not with the idea that play- 
ing on an instrument is an end to 
be striven for, but that it is, for him, 
the means of saying something true 
which words may not express." 

It may be said, then, that the chief 
aim of the Music School Settlement 
is to make men rather than mu- 
sicians. Here, music is a bigger 
thing than a mere parlor or platform 
accomplishment ; it is a constant en- 
deavor to keep alive the imagination 
of the child; it goes to the very 
depths of character in its beneficial 
influence. In the words of one of the 
Settlement teachers, "it is not only 



a cultural and educative force second 
to none, but a moral and spiritual 
stimulant equal to any found in 
school or church. A boy can't be a 
clean-cut musician and be morally 
slouchv — he cannot have ideals of 



down here in the Settlement we have 
proved that wherever you have 
raised the standard of a child's ap- 
preciation of music, you have raised 
the -Standard of his home life — his 
code of ethics, his ambitions and 



music and be physically bestial, aivl aspirations-" 







.ICKXaiVLEDGMENTS 
The Board of Directors of the Music School Settlement wish to extend 
their appreciation to all zvho have given their time or other aid to the 
Parlozi'a Carnival. 



Miss Joan Sawyer and Mr. Thomas A.lcn Rector, have graciously con- 
sented to open the the dansant. Mr. D. S. Samuels' Orchestra furnishes the 
dance music. Mr. Emil Kats acts as manager of the tea room. Huylers 
contribute all candy on sale in the foyer and tea room. 




The Anniial Illay Night Street Festival given by the Music School Settlement 



Will you become a Subscriber to the 

Music School Settlement 

55 East Third Street. New York 



Checks may be made payable to Mr. Frank. H- SimmonSy Treasurer, 
and may be sent to him at 55 East Third Street 



Associate Member 
Contributing Member 
Sustaining Member 
Scholarship 
Annual Patron 



$5 
10 
25 
50 
100 



Associate Life Member $1 00 

LifeMemJyer . . 250 

Patron . . . 500 

Endoroed Scholarship . 1 000 



^ame jjddress 



OFFICERS OF THE MUSIC SCHOOL SETTLEMENT 

1913 

PRESIDENT 

Miss Christine V. Baker 

vice-presidents 
]\Ir. Hexrv P- Davison Mr. Otto H. Kahn 

Mrs. Frederick Trenor Hill Miss Laura J. Post 
Mrs. Willard Straight 

treasurer secretary 

Mr. Frank H. Simmons Miss Marian Claire Smith 

no Centre St. 55 East Third St. 

honorary vice-president 
AIrs. a. a. Anderson 

BOARD OF MANAGERS 
Mrs. Howard Mansfield, Chairman 
Mr. Chester Holmes Aldrich Mrs. Adolph Lewisohn 
Miss Christine V- Baker Mr. James B. Mabon 

Mr. George F. Baker, Jr. Mrs. George L. Nichols 

Mrs. Sidney C. Borg Miss Laura J. Post 

Miss Helen Brice Mrs. William Proctor 

Miss Agnes Carpenter Mrs. Rudolph E. Schirmer 

Mr. Henry P. Davison Mrs. Arthur H. Scribner 

Mrs. Charles Healy Ditson Mr. Frank H. Simmons 
Mr. Robert B. Dodson Mrs. Willard Straight 

Mr. Robert Hartshorne Mr. Joseph T. Talbert 

Mr. Ellwood Hendrick Mrs. George M. Tuttle 

Mrs. Francis L. Hine Mrs. Frederick T. van Beuren 

Mrs- Frederick Trevor Hill Mrs. H. Montague Vickers 
Mr. Otto H. Kahn Mr. Albert H. Wiggin 

ADVISORY BOARD 
Mr. Lawrence F. Abbott Mr. Robert W. de Forest 

Mr. Charles H. Ditson Mr. Jacob H. Schiff 

Mr. Harry Harkness Flagler Mr. Rudolph E. Schirmer 
Miss Lillian Ward 

musical director 
Mr. David IMannes 



EXECUTTVl-: STAFF FOR THE PAVLOWA CARNIVAL 

Miss Leslie Manager 

Miss Beulah Livingstone Publicity Representative 

Mr. Thomas Allen Rector Director of Dansanf 



LIBRARY OF CONGRESS 



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LIBRARY OF CONGRESS 




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010 336 069 9 



Hollinger Corp. 
pH8.5 



